Yesterday, Nikon released new firmware for almost all of its current DSLR line-up, namely for the D4, D800, D600, D3, D3s, D3x, D7000 and D3200. Most of these updates only add full compatibility to the exotic new 800mm f/5.6E FL ED VR lens – a lens very few people will ever see or use.
The highlight, for me, is the fact that Nikon has now finally addressed the uncompressed HDMI bug that frustrated D600 videographers. This issue used to be a reason for DSLR videographers to get the more expensive D800, and seemed like a lame up-selling scam on Nikon’s part. No more, it seems!Read More»
Bottom line: the D800E misses a proper anti-aliasing filter. This probably does more harm than good, so buy the D800 instead, unless you absolutely need maximum per-pixel resolution and know how to avoid Moiré artefacts.
Disclaimer: The D800/D800E are great cameras that differ in subtle ways. Making a purchasing decision based on these differences will necessarily involve “splitting hairs”, but that is probably why you are reading this blog entry, so let’s do that.
I started writing this post before D800E reviews were available online. Now that it’s been tested by dpreview and DxO I have to admit that the D800E is less prone to Moiré than I expected it to be. Yet I stand by what I wrote in this post and I still advise you to get the D800 instead of the D800E unless you know exactly what you’re doing. Read on.
The D800 and the D800E
When Nikon announced their brand new D800 and D800E full frame (FX) DSLRs a few months ago, it was a breakthrough. These cameras push the limits in resolution beyond anything previously seen on 35mm and set new benchmarks in DSLR video capabilities. This is great news, because whether or not competitors come up with even better models, you (the consumer) still win. So, we know that they are excellent. All he reviews tell us so. The big question in photographers’ minds is probably whether to get the D800 or the D800E. The “E” sounds somehow more Exotic and Exclusive, and promises even sharper photos. Given this, the D800E’s 10% higher ($3300 vs $3000) price sounds justified. Sort of like a D800 “de luxe” edition, right? Not necessarily.Read More»
J.D. Power and Associates, a company best known for their car satisfaction surveys, have recently published a buyer satisfaction comparison for the major DSLR manufacturers. In the car world we know that Japanese cars tend to be the most reliable/satisfying, but in the camera world we deal almost exclusively with Japanese brands – so who is going to win?
Since bars speak louder than words, I'll skip to the results:*Note that the term "DSLR" excludes mirrorless and compact cameras. Olympus and Panasonic are leaders in mirrorless system cameras, at the expense of their DSLR product lines.Read More»
Update (7 Aug 2012): Canon has just released firmware 2.0.0 (click here for official site)
It is always a good idea to keep your camera’s firmware updated. In Sony’s NEX series, for example, updates resulted in major usability improvements. For the Nikon D800/D4, updates fixed bugs that made it past quality control. No matter what brand you own, you win by getting the latest firmware.
Now Canon 7D owners really have reason to rejoice since firmware update 2.0.X adds a lot of performance and usability improvements to what is already a very good camera. It is almost like upgrading to an even better and more expensive camera, only it’s free!Read More»
We’re used to hearing the word “Megapixel”, but “Gigapixel” still has some novelty. Giga, meaning 1 billion (10^9). That is a crapload of pixels. One thousand megapixels, or equivalent to the pixels of one hundred “normal” digital cameras, or 28 of the new super-high-resolution Nikon D800(E)s.Read More»
Rumours (and even leaked photographs) are all saying that Nikon will soon be introducing the D600, a more affordable FX (full frame) camera.
Allthough not 100% confirmed, I certainly see this as a sensible and welcome newcomer to their line-up. Yesterday Nikon paved the way to the D600’s release with brand new Nikkor 24-85mm F2.5-4.5 VR lens.
On FX, this new lens will perform similarly to a 16-57mm F2.8 VR on DX (APS-C). The closest one gets to those specifications on DX, however, is with the expensive but built-like-a-tank Nikon 17-55mm F2.8, or Sigma/Tamron 17-50mm F2.8. The former lacks optical stabilization, while the latter two lack the Nikon badge, and risk more focussing and quality control issues.Read More»
A good friend of mine showed me the cute webpage of the “SLR Camera Simulator”. This simulator gives you the chance to interactively play around with a virtual camera that features the major controls any serious photographer should master: focal length, aperture, shutter speed, and ISO sensitivity.
If you are new to photography, this is a great way to get a feel for how a camera responds to your input. Of course you could (and should) also use a real camera to play around, but at least this little girl is more patient than any real-life human child. And the site gives handy feedback, too.
Click image (below) to redirect to The SLR Camera Simulator:
Today I am comparing two “premium” third-party standard zoom lenses: the Tamron 17-50mm F2.8 VC ($650, B&H), and Sigma 17-50mm F2.8 OS ($594, B&H). Both offer a useful 17-50mm with fast F2.8 max aperture (at all focal lengths). Both feature optical stabilization. Both are available for multiple camera mounts (including Canon, Nikon and Sony).
Interestingly the price difference in The Netherlands (where I live) used to be reversed, although recently the Tamron got more expensive and the Sigma much cheaper, so that they currently retail for €419 and
€389 respectively (28 December 2013).
In addition to their similar specifications, these two have very similar size and weight, and compete in the same price range. Direct competitors, therefore. But which one is best?
I got my hands on both of them (Nikon mount), and put them to the test.Read More»
Photozone.de just published their review of Sony’s new stabilized 50mm f/1.8 lens, available for their NEX mirrorless system. The thing that makes this lens special is the fact that it combines a big aperture with optical stabilization. In fact, to my knowledge this is the fastest (lowest f-number) stabilized system lens (of any focal length) ever built!
Large apertures are great in low light situations. It enables you to gather more light, thereby letting you use a lower ISO value or faster shutter speed. Lower ISO means less image noise and better colours.
The “problem” with traditional 50mm primes (like those of Canon, Nikon) is that when you’re shooting hand-held you have to use a fast shutter speed (e.g. < 1/80) because they lack stabilization. If you had stabilization and were shooting a static subject you could probably have gone down to 1/10 and have used an ISO value 8 times lower.
The large f/1.8 aperture gives about 3 stops extra light compared to a 18-55 f/3.5-5.6 “kit zoom”, but you lose the 3-stop advantage you would have gotten with the kit zoom’s image stabilization. Since the advantages cancel out you instead have to use the same ISO value for either lens at its minimum usable hand-held shutter speed. But with the new Sony you can choose to apply that large aperture either for low ISO (useful for static subjects) or for fast shutter speeds (useful for moving subjects). In one word: versatility!
The advantages of a “nifty fifty” go further than being able to use fast shutter speeds. These lenses are almost always sharp (at smaller apertures), small, light, and can render backgrounds with beautiful shallow depth of field blurring, known as “bokeh”. By also being affordable (often < $300) you will find one in the bag, or on the camera, of every serious photographer.
For the reasons stated above a “nifty fifty” works nicely as a portrait lens on cropped sensor DSLRs. For a great example, see this photo by Ana Santos :
Reading the review we see that this new Sony lens has nothing to be ashamed of, and at $300 (available for pre-order at B&H) it is good value for money, too! It is not the sharpest lens at large apertures, but renders beautiful out-of-focus background “bokeh”. If you want sharpness you just have to stop it down. And, it is stabilized!
Conclusion: a very harmonious offering. The unique double advantages of a classical fast 50mm prime and image stabilization. Sony NEX users can count themselves privileged.